For information and reference only – not to be submitted as your own work.
This extract shows how a ten-minute, eleven-slide presentation script can be structured for the ACE1102 Entrepreneurship in the Arts Assessment 2 presentation script brief. It uses an invented example business, a small community art-and-music workshop studio, so that every figure and decision is illustrative. Your own script must follow your Assessment 1 business idea. For tips on planning the talk itself, read our guide on how to plan an arts entrepreneurship presentation script.
Planning table
| Slides | Section | Suggested spoken words | What the marker looks for |
|---|---|---|---|
| 1 | Cover | 50 | Clear title, course code, a confident opening line |
| 2–4 | Introduction: business, offer, audience | 330 | A specific idea and a defined target audience |
| 5–6 | Financial plan: costs and funding | 260 | Realistic costs, more than one funding route |
| 7–8 | Legal considerations | 260 | Justified business structure, named obligations |
| 9–10 | Ethics: challenges and solutions | 260 | Challenges paired with practical solutions |
| 11 | Conclusion | 90 | Brief recap and a clear closing message |
The total of roughly 1,250 spoken words suits a ten-minute delivery at a steady pace. The example script below gives extracts rather than every slide in full.
Slide 1: Cover
Slide: Title (“Brushstrokes and Beats: A Community Art-and-Music Studio”), course code, programme and presenter details.
Script: “Good morning, everyone. Many people in Singapore want to make art but cannot find an affordable place to learn. Today I will present Brushstrokes and Beats, a small community studio that combines painting and beginner music workshops. I will explain the idea, the money behind it, the legal basics, the ethical issues and my conclusions.”
Slides 2 to 4: Introduction to the business, product and audience
Slide 2: The business in one sentence. Slide 3: What is offered. Slide 4: Who it is for.
Script: “Brushstrokes and Beats is a neighbourhood studio offering weekend workshops in acrylic painting, ukulele and group rhythm sessions. The core idea is simple. Arts learning should be social, low-pressure and priced for ordinary households.”
“The product is a mix of services: four-week workshop series, one-off taster sessions and private party bookings. A secondary product is a small range of materials kits sold to participants. Arts entrepreneurs often combine a core creative service with supporting products, because this spreads income across more than one stream (Byrnes, 2015).”
“Our target audience is working adults aged 25 to 45 who want a creative hobby, and parents looking for weekend activities for children. Defining the audience this clearly follows the customer-segment logic of the business model canvas, where every value proposition is matched with a specific group of customers (Osterwalder & Pigneur, 2010).”
The key marking point here is specificity. A generic “art business for everyone” is weaker than a named audience, a named offer and a stated reason why it matters.
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Slides 5 and 6: Financial plan, startup costs and funding
Slide 5: A simple startup cost table. Slide 6: Funding routes and their trade-offs.
| Cost item (illustrative figures) | One-off or monthly | Estimate (S$) |
|---|---|---|
| Studio deposit and renovation | One-off | 8,000 |
| Easels, instruments and furniture | One-off | 6,000 |
| Materials and kit stock | One-off | 2,500 |
| Rent, utilities and insurance | Monthly | 3,200 |
| Marketing and booking platform | Monthly | 400 |
Script: “These figures are illustrative, but they show how I would think about costs. The one-off items total S$16,500, and monthly running costs are about S$3,600. I separate the two because a new studio must survive its first months before income becomes steady.”
“I considered three funding routes. First, personal savings, which give full control but limit the amount I can invest. Second, crowdfunding, which can test demand before opening because supporters pledge in advance. Third, public support for the arts. The National Arts Council offers funding schemes, including the Presentation and Participation Grant, that support arts activities reaching audiences, so I would check whether my workshops match the eligibility criteria (National Arts Council, n.d.). A small business loan is a fallback, but repayment pressure is a risk for a young creative venture.”
“Starting lean also helps. Following lean start-up thinking, I would run pilot workshops before signing a long lease, so that real attendance data guides each financial decision (Ries, 2011).”
Slides 7 and 8: Legal considerations
Slide 7: Choice of business structure. Slide 8: Legal obligations.
| Feature | Sole proprietorship | Private limited company |
|---|---|---|
| Legal identity | Same as the owner | Separate legal entity |
| Liability | Owner is personally liable | Generally limited to the company |
| Setup and upkeep | Simpler | More compliance and cost |
| Best suited to | Small, low-risk start | Growth, investors, larger risk |
Script: “In Singapore, businesses are registered with the Accounting and Corporate Regulatory Authority, and the main choices include a sole proprietorship, a partnership and a company (Accounting and Corporate Regulatory Authority, n.d.). I would begin as a sole proprietorship because it is simpler and cheaper while I test the idea. The trade-off is that I carry personal liability. If the studio grows or takes outside investment, I would move to a private limited company.”
“Beyond registration, I must respect copyright. If I play recorded music or perform songs in workshops open to the public, I may need permission from the rights owners or licences through the relevant collective bodies. The Copyright Act 2021 sets out the rights that creators hold and the conditions under which works may be used (Singapore Statutes Online, 2021). I must also credit and license any images I use in marketing, hold public liability insurance and follow safety requirements for the premises.”
Slides 9 and 10: Ethics, challenges and solutions
| Ethical challenge | Practical solution |
|---|---|
| Pricing that excludes lower-income families | Offer a limited number of concession places each term |
| Using other artists’ work or styles without credit | Teach original techniques, credit sources, and avoid copying living artists |
| Fair pay for visiting tutors | Agree written rates before each series |
| Protecting children and personal data | Clear consent forms and minimal data collection |
Script: “Ethics matters in the arts because the sector depends on trust, creativity and access. My first challenge is fairness of access. A studio that only wealthy households can afford would contradict its purpose, so I would reserve concession places each term. My second challenge is respect for creators. Arts managers are expected to balance artistic values with commercial pressure, and that balance should be visible in everyday choices such as crediting sources and paying tutors fairly (Bilton, 2007; Byrnes, 2015).”
“Finally, I will treat participants’ personal data carefully, particularly for children. I will collect only what I need and explain how it is used.”
Notice how each section above ends on a practical decision rather than a general statement. That habit, choosing and justifying, is what separates a descriptive presentation from a persuasive one, and it is easy to reproduce in your own script once your business idea is fixed.
Slide 11: Conclusion
Script: “To conclude, Brushstrokes and Beats responds to a clear need for affordable, social creative learning. The financial plan keeps costs realistic, the legal route begins simply, and the ethical approach protects access and creators. I believe a small, carefully tested studio is a sound first step. Thank you for listening, and I welcome your questions.”
If you need support turning your own idea into a full slide deck and script, our PowerPoint presentation writing help and arts management assignment help pages explain what we can assist with.
References
Accounting and Corporate Regulatory Authority. (n.d.). Step 2: Choosing a business structure. Government of Singapore. https://www.acra.gov.sg/register/business/choosing-business-structure/
Bilton, C. (2007). Management and creativity: From creative industries to creative management. Blackwell Publishing.
Byrnes, W. J. (2015). Management and the arts (5th ed.). Routledge.
National Arts Council. (n.d.). Presentation and Participation Grant. https://www.nac.gov.sg/support/funding-and-schemes/presentation-and-participation-grant/overview
Osterwalder, A., & Pigneur, Y. (2010). Business model generation: A handbook for visionaries, game changers, and challengers. John Wiley & Sons.
Ries, E. (2011). The lean startup: How today’s entrepreneurs use continuous innovation to create radically successful businesses. Crown Business.
Singapore Statutes Online. (2021). Copyright Act 2021. Attorney-General’s Chambers. https://sso.agc.gov.sg/Act/CA2021
